Professional Documents
Culture Documents
This repertoire list should be read in conjunction with the current Jazz
Grades Syllabus. Copies are available free of charge via our website,
www.uwl.ac.uk/lcmexams, or from the LCM Examinations office.
Please refer to the Jazz Grades Syllabus for full details about Graded exams,
Recital Grades, Leisure Play exams and Performance Awards.
This repertoire list is valid from 1 September 2016 until 31 December 2022.
LCM Examinations
Director of Examinations
John Howard BA PhD FRSA
LCM Examinations
University of West London
St Mary’s Road
Ealing
London W5 5RF
tel: +44 (0)20 8231 2364
email: lcm.exams@uwl.ac.uk
www.uwl.ac.uk/lcmexams
2
Introductory Notes
1. Step grades
These are offered to encourage confident playing of familiar songs/tunes. The exercises contribute to a solid
technical foundation.
At Grades 3 and 4, performances should include an increasing amount of embellishment and fills, and show
awareness of turnaround figures. Some pieces will require small elements of improvisational exploration.
At Grade 5 these elements should be embraced with increasing enquiry and security.
Pieces requiring improvisation should generally consist of the head and two improvised choruses.
Backing tracks are optional. Live accompaniment is encouraged (e.g. piano, keyboard, guitar, rhythm section).
Creative enquiry, good use of jazz language and secure skills are important ingredients for a good performance.
5. Real Books
Where reference is made to Real Books, alternative publications are acceptable (e.g. legal Fakers Books, etc.).
6. Aural tests
Jazz aural tests must be offered by the candidate (specimen jazz aural tests will be supplied in the handbook).
Please note that standard aural tests are no longer an option in jazz exams.
7. Technical work
New to this edition of the repertoire list: candidates may opt to play a study (or studies) as an alternative to scales
and arpeggios.
3
Publications
The following LCM Publications are relevant to this syllabus:
LCM Publications are available through our online shop: www.lcmmusicshop.ac.uk, or direct from our distributor,
Music Exchange:
• tel: 0161 946 9301
• email: mail@music-exchange.co.uk
Downloads
The following are available as PDF downloads from www.LCMEbooks.org:
Acknowledgement
Grateful thanks are due to Stuart Corbett, LCM jazz syllabus compiler.
4
Examination Formats
Following is an overview of the four examination formats offered by LCM Examinations: Grades, Recital Grades,
Leisure Play and Performance Awards. Refer to the relevant section of the Jazz Grades Syllabus for full details.
Performance
Grades Recital Grades Leisure Play
Awards
Technical Work
Aural Tests
Pre-requisites
Ofqual
Accreditation
5
Free Choice Memory Option
In the jazz examinations from Grade 1 to Grade 8, candidates may opt to offer ONE piece as a free choice, to be
played from memory.
Jazz musicians often have a number of pieces that they play from memory. A good bank of memorised pieces
contributes to enjoyment, confidence and creativity when playing in a group or in a jam session.
This option offers an opportunity to develop skills important to the jazz musician and to explore pieces which you
enjoy – pieces which interest and enthuse you.
Through the grades, increasing levels of technical expertise, interpretation, sophistication and improvisational
creativity will be assessed.
Grades 1 to 3: A short piece or song which lends itself to a ‘jazz feel’ – perhaps a nursery rhyme (e.g. ‘Merrily We Roll
Along’) or a well-known jazz theme (e.g. ‘When the Saints’, ‘C-Jam Blues’, ‘Frankie and Johnny’). Gospel pieces or
some hymns also sometimes lend themselves to jazz interpretation (e.g. ‘Amazing Grace’).
Grades 4 and 5: You may wish to explore more repertoire and styles, perhaps including blues numbers and
standards. You may wish to select a piece which was appropriate in earlier grades. The skill and creativity levels
should be more sophisticated in quality.
Grades 6 to 8: Increasing levels of improvisation and stylistic authenticity and/or personalisation will be expected.
You may wish to explore pieces and solos which have become iconic in the jazz world. Clarinet players may wish to
explore New Orleans/Dixieland styling.
If the piece chosen appears elsewhere in the repertoire at the same grade, the piece may only be played once.
Candidates may be accompanied, or the piece may be played solo. If the piece is accompanied (e.g. by piano, guitar,
rhythm section or backing track), ensemble awareness can be assessed alongside solo skills and creativity.
6
Jazz Clarinet: Step 1
Component 1 - Arpeggio 10 marks
The candidate will be asked to play, from memory, the following arpeggio (tongued and slurred).
C major:
7
Jazz Clarinet: Grade 1
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, the Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
8
Activate OR Spirals Upbeat! for Clarinet Book 1 (Hounsome) (Subject Publications)
I’m Popeye the Sailor Man What Else Can I Play? Clarinet Grade 1 (Faber)
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 1 (LL161). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
9
Jazz Clarinet: Grade 2
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, the Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
10
When the Saints Go Marching In The Joy of Clarinet (Yorktown/Music Sales)
Beatitude [head twice] Time to Play Music: Jazz and Rock (Aebersold Vol. 5) (Jazzwise)
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 1 (LL161). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
11
Jazz Clarinet: Grade 3
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, the Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
Move Along OR Jazzy Waltz LCM Jazz Wind Handbook 1 (LCM Publications)
Fun-Key [if not played in Component 1] LCM Jazz Wind Studies [download] (LCM Publications)
Searching OR Silver Riddle OR Drifting By 20 Crucial Clarinet Studies (Madden) (Spartan Press)
In the Beginning OR Sir Neville OR Happy Ending 40 Modern Studies for Clarinet (Rae) (Universal Edition)
Study 16 OR 19 OR 20 60 Jazz Etudes (Winkler) (Tezak/MusT)
Blues for Caroline OR Puddle Jump Cool School (Gumbley) (Brass Wind)
Ernie’s Blues OR Skipping OR Slinky Easy Jazzy ‘Tudes (Nightingale) (Warwick Music)
Those Dance-Band Days Jump Into Jazz (Kershaw) (Studio Music)
Ex. 79 OR Ex. 80 OR Ex. 81 [tongued or slurred, candidate’s choice] [may be written out, transposed to any key which is
comfortable] Patterns for Jazz (Alfred)
No. 51 OR No. 52 OR No. 54 OR No. 56 Progressive Jazz Studies, Easy Level (Rae) (Faber)
Full On OR Bossa Bossa Style Workout (Rae) (Universal Edition)
Ex. 8 (Level 6) Teacher on Tap Book 1: Starting Out (Percival) (Teacher on Tap)
Rock Licks OR Swing Waltz Times Ten Jazz Studies (Wilson) (Camden Music)
Winding Road LCM Jazz Wind Handbook 1 (LCM Publications)
Short Cut OR Evergreen All Jazzed Up (Ledbury) (Brass Wind)
Ship of the Desert Creature Comforts (Nightingale) (Warwick Music)
The Man I Love OR Embraceable You Easy Gershwin for Clarinet (Davies & Harris)(Oxford University Press)
Swinging Quavers OR Shorty Easy Jazzy Clarinet (Harvey) (Universal Edition)
Over the Rainbow OR Come So Far Easy Popular Movie Instrumental Solos (Clarinet) (Alfred)
Pentatonic Blues [play through twice with fills/embellishments in the second chorus]
How to Play Jazz and Improvise (Aebersold Vol. 1) (Jazzwise)
Waltz for Richard OR A Sleepy Bean Jazz Routes (Miles) (Camden Music)
Green Onions OR Nearly Fabulous [with short improvisation]
Jazzworks (Hampton) (Faber)
Coffee Time Latin Clarinet (Rae) (Universal Edition)
The Henley Regatta OR Go Out Shopping Master Pop Swing (van Gorp) (De Haske)
Gloomy Microjazz Clarinet Collection 1 (Norton) (Boosey & Hawkes)
Shoehorn Blues OR A Spiritual Microjazz Clarinet Collection 2 (Norton) (Boosey & Hawkes)
12
Kalimba OR After Midnight OR Café Rio Teacher on Tap Book 1: Starting Out (Percival) (Teacher on Tap)
Beguine OR Beguine Again The Boosey Woodwind Method: Clarinet Book 1 (Boosey & Hawkes)
Groovitis [head only] Time to Play Music: Jazz and Rock (Aebersold Vol. 5) (Jazzwise)
Just Lounging About Upbeat! for Clarinet Book 1 (Hounsome) (Subject Publications)
The Shadow of Your Smile What Else Can I Play? Clarinet Grade 2 (Faber)
Over the Rainbow OR Stranger on the Shore What Else Can I Play? Clarinet Grade 3 (Faber)
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 1 (LL161). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
13
Jazz Clarinet: Grade 4
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, the Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
14
Sergeant Swing OR Chewing the Cud [with improvisation]
Jazzworks (Hampton) (Faber)
Blue Habanera [with embellishments/improvisation in second chorus]
Latin Clarinet (Rae) (Universal Edition)
Satin Doll OR Summertime [head and one chorus with some embellishments]
Maiden Voyage (Aebersold Vol. 54) (Jazzwise)
This is My Day OR Por Favor Master Pop Swing (van Gorp) (De Haske)
Gospel OR Steam-train Blues Microjazz Clarinet Collection 2 (Norton) (Boosey & Hawkes)
Bye Bye Blackbird [two choruses to be played with embellishments/improvisation in second chorus]
Swing Swing Swing (Aebersold Vol. 39) (Jazzwise)
Singin’ in the Rain Take the Lead: Bumper Book (Clarinet) (Faber)
Inner Whirl Teacher on Tap Book 1: Starting Out (Percival)(Teacher on Tap)
The Clarinet Rap The Boosey Woodwind Method: Clarinet Book 1
(Boosey & Hawkes)
Ain’t Misbehavin’ OR Whispering [head and one chorus with embellishments]
The Real Book (Hal Leonard)
Killer Pete [head plus one chorus with some fills and elements of improvisation]
Time to Play Music: Jazz and Rock (Aebersold Vol. 5) (Jazzwise)
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 1 (LL161). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
15
Jazz Clarinet: Grade 5
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, the Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
16
Charleston OR I Got Rhythm Play Jazztime (Faber)
On the Sunny Side of the Street [head and one embellished chorus]
Sugar (Aebersold Vol. 49) (Jazzwise)
Poor Butterfly OR Avalon [two choruses to be played with embellishments/improvisation in second chorus]
Swing Swing Swing (Aebersold Vol. 39) (Jazzwise)
Paquito Teacher on Tap Book 2: Intermediate (Percival) (Teacher on Tap)
A Groovy Kind of Love The Boosey Woodwind Method: Clarinet Book 1 (Boosey & Hawkes)
I Ain’t Got Nobody [head and one chorus with embellishments]
The Real Book (Hal Leonard)
Freddieish [two choruses] Time to Play Music: Jazz and Rock (Aebersold Vol. 5) (Jazzwise)
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 1 (LL161). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
17
Jazz Clarinet: Grade 6
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, one Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
Dominant 7ths in the keys of D and A, resolving on the tonic (two octaves, swung)
Diminished 7th beginning on F (two octaves, swung)
Up Tempo Blues (with improvisation) LCM Jazz Wind Handbook 2 (LCM Publications)
Wholesome OR Blues Thing [if not played in Component 1]
LCM Jazz Wind Studies [download] (LCM Publications)
Dreamscape 20 Crucial Clarinet Studies (Madden) (Spartan Press)
In a Dream OR On the Brink OR Latin Jive 40 Modern Studies for Clarinet (Rae) (Universal Edition)
Study 48 OR 50 60 Jazz Studies (Winkler) (Tezak/MusT)
Gone With What Draft Benny Goodman: Swing Classics (Music Sales)
Cool School Cool School (Gumbley) (Brass Wind)
Woodchopper’s Ball Jazz Classics Instrumental Play-along: Clarinet (Hal Leonard)
Isabel’s Song Jazz Routes (Miles) (Camden Music)
Ex. 99 OR Ex. 100 [swung] [the continuation patterns must not be written out]
Patterns for Jazz (Alfred)
The Half of it, Dearie, Blues OR Dixieland Blues Session Time (Wastall) (Boosey & Hawkes)
I Ain’t Got Nothin’ but the Blues OR Night Train Solo Plus, Boogie and Blues (Amsco)
Don’t Get Around Much Anymore (Duke Ellington)
Take the Lead: Jazz (Clarinet) (IMP)
Ex. 8 (Swing, Level 12, page 69, starting at the beginning of line 9)
Teacher on Tap Book 2: Intermediate (Percival) (Teacher on Tap)
Jazz Waltz Blues (composition and improvisation) LCM Jazz Wind Handbook 2 (LCM Publications)
Autumn Leaves OR Another You OR After You’ve Gone
Autumn Leaves (Aebersold Vol. 44) (Jazzwise)
Laurie [head and one improvised chorus] Bill Evans (Aebersold Vol. 45) (Jazzwise)
Here Comes McBride Dave Brubeck (Aebersold Vol. 105) (Jazzwise)
Tico Tico Jazz Classics Instrumental Play-along: Clarinet (Hal Leonard)
18
Summertime OR C Jam Blues OR The Preacher Jazz Improvisation Series: Approaching the Standards Vol. 1 (Hill)
(IMP)
Ballin’ the Jack OR Toot Toot Tootsie Jazz Play-Along Vol. 87: Dixieland (Hal Leonard)
Watermelon Man Maiden Voyage (Aebersold Vol. 54) (Jazzwise)
Francis’ Dream Waltz OR Swing Party Master Pop Swing (van Gorp) (De Haske)
Long-Meter Jazz/Rock OR Bird Blues OR Fast Blues in F
Nothin’ But Blues (Aebersold Vol. 2) (Jazzwise)
Lady Bird Soultrane: Tadd Dameron (Aebersold Vol. 99) (Wise/Music Sales)
Blue Room Swing Swing Swing (Aebersold Vol. 39) (Jazzwise)
Hodge OR Soul Song OR Baby Boomer OR Desmondesque
Teacher on Tap Book 2: Intermediate (Percival) (Teacher on Tap)
502 Blues OR On a Slow Boat to China OR Gee Baby, Ain’t I Good to You [head and two improvised choruses]
The Real Book (Hal Leonard)
Essence [head and one or two improvised choruses] Time to Play Music: Jazz and Rock (Aebersold Vol. 5) (Jazzwise)
Own composition in the style of a blues [with improvised section]
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 2 (LL162). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
19
Jazz Clarinet: Grade 7
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, one Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
20
Melancholy Baby East of the Sun (Aebersold Vol. 71) (Jazzwise)
April in August OR At Twilight OR Everybody’s Song
How to Learn Tunes (Baker, Aebersold Vol. 76) (Jazzwise)
One Note Samba OR Take the A Train Jazz Classics Instrumental Play-along: Clarinet (Hal Leonard)
Now’s the Time OR Honeysuckle Rose OR Perdido Jazz Improvisation: Approaching the Standards Vol. 2 (Hill) (IMP)
Flying Home OR Wholly Cats Jazz Play-Along Vol. 86: Benny Goodman (Hal Leonard)
Alexander’s Ragtime Band OR The Darktown Strutter’s Ball
Jazz Play-Along Vol. 87: Dixieland (Hal Leonard)
Canteloupe Island OR Song for My Father OR Footprints
Maiden Voyage (Aebersold Vol. 54) (Jazzwise)
Indiana OR The Sheik of Araby St Louis Blues: Traditional Dixieland Classics (Aebersold Vol. 100)
(Jazzwise)
Sanctuary OR Why Not OR Grey Street Teacher on Tap Book 3: Advanced (Percival) (Teacher on Tap)
Lazy River OR The Very Thought of You OR Midnight Mood [head and two improvised choruses]
The Real Book (Hal Leonard)
Modal Voyage [head and one or two improvised choruses]
Time to Play Music: Jazz and Rock (Aebersold Vol. 5) (Jazzwise)
Own composition in the style of a jazz waltz [with improvised section]
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 2 (LL162). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
21
Jazz Clarinet: Grade 8
Component 1 - Technical Work 15 marks
Candidates should prepare Option 1 OR Option 2. If Option 1 is chosen, one Study may be played as one of the pieces
performed in Component 2. See page 4 for information about publications and downloads.
22
Mood Indigo OR Solitude OR I Let A Song Go Out Of My Heart OR Prelude to a Kiss
Duke Ellington (Aebersold Vol. 12) (Jazzwise)
The Second Time Around (Swing, crotchet = 126) OR East of the Sun OR Aulil OR 10/21/17 OR Eclipse
How to Learn Tunes (Baker, Aebersold Vol. 76) (Jazzwise)
A creative response to Track 10: 24 Measure Song [maximum three choruses]
How to Play Jazz and Improvise (Aebersold Vol. 1) (Jazzwise)
Snap, Crackle, Pop [head and one or two improvised choruses]
Time to Play Music: Jazz and Rock (Aebersold Vol. 5) (Jazzwise)
Fly Me to the Moon OR Fever Jazz Classics Instrumental Play-along: Clarinet (Hal Leonard)
Cotton Tail Jazz Improvisation: Approaching the Standards Vol. 3 (Hill) (IMP)
Jersey Bounce OR Stompin’ at the Savoy Jazz Play-Along Vol. 28: Big Band Era (Hal Leonard)
Don’t Be That Way Jazz Play-Along Vol. 86: Benny Goodman: (Hal Leonard)
That’s a Plenty OR Tiger Rag Jazz Play-Along Vol. 87: Dixieland (Hal Leonard)
Doxy OR Solar Flair Maiden Voyage (Aebersold Vol. 54) (Jazzwise)
Mr D OR Bobbin Teacher on Tap Book 3: Advanced (Percival) (Teacher on Tap)
Angel Eyes OR I’ll Get By OR Little Boat OR D Natural Blues
The Real Book (Hal Leonard)
Own composition based on II-V-I sequence [with improvised section]
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download from
www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 2 (LL162). (Reference to the Jazz
Wind Handbook is an essential requirement to conduct and respond in these tests.)
23
Musical Awareness
Notes:
1. All questions and answers are verbal. Candidates are not expected to demonstrate on their instrument or to sing;
but they may choose to do so if they feel that this would clarify their answer.
2. There is no set form of words, or number of questions. Examiners are encouraged to conduct the tests in a flexible
and conversational manner. The number of questions asked, and the content of the questions, may differ from
candidate to candidate. However, the prime focus will always be the music performed in the Performance section
of the exam.
3. The knowledge required is cumulative for Grades 1–8; i.e. any knowledge required in earlier grades is required for
later grades.
4. Although accuracy and appropriateness of response are the principal criteria of assessment, examiners will also
look for articulacy, use of correct terminology, and a sense of engagement with, and understanding of, the music
performed.
Requirements:
GRADES 1 AND 2
Candidates should be able to:
• name, and explain the meaning of, all basic notational elements in the music performed in the Performance
component of the exam, including: staff, bars and barlines, clefs, pitches of individual notes, rhythmic values of
notes and rests (including dotted notes), key and time signatures, accidentals, dynamics, articulation markings,
phrases, ornaments, and any additional markings;
• explain which is their favourite piece and why;
• assign simple descriptive words to pieces to describe their mood (‘happy’, ‘sad’, ‘bouncy’, ‘jazzy’, ‘gentle’, etc.).
GRADE 3
In addition to the requirements for Grades 1 and 2, candidates may be asked to:
• identify intervals up to and including a fifth by numerical value only (e.g. ‘second’, ‘fourth’, etc.);
• demonstrate an understanding of basic chord symbols;
• describe the mood or character of pieces using appropriate descriptive terminology (‘fast and lively’, ‘gentle
and flowing’, ‘like a dance’, etc.);
• identify contrasts of mood within pieces;
• discuss any pictorial or descriptive element of the music.
GRADE 4
In addition to the requirements for Grades 1–3, candidates may be asked to:
• identify intervals up to and including an octave by numerical value only (e.g. ‘fourth’, ‘seventh’, etc.);
• demonstrate basic knowledge of composers and/or famous performers of the music performed, including their
nationality and approximate dates;
• discuss their approaches to learning the pieces, and to identify any particular difficulties (musical or technical)
which were encountered.
GRADE 5
In addition to the requirements for Grades 1–4, candidates may be asked to:
• identify intervals up to and including an octave by number and type (e.g. ‘Major 2nd’, ‘Perfect 4th’, etc.);
• demonstrate knowledge of basic formal structures (e.g. contrasting or repeated sections);
24
• identify principal modulations (by naming the new key or its relationship to the home key);
• identify major and minor chords as occurring in the music (either as chords or as melodic patterns);
• demonstrate knowledge of pentatonic and blues scale structures.
GRADE 6
In addition to the requirements for Grades 1–5, candidates may be asked to:
• demonstrate knowledge of blues structures, chord structures, and modes in the major scale;
• demonstrate stylistic understanding and awareness;
• respond to questions on musical influences;
• discuss their personal responses to the music performed: the extent to which they like or dislike it, or find it
challenging or rewarding, and why;
• approaches to learning the music, including the use of certain techniques, and aspects of interpretation;
• demonstrate a self-critical awareness of their own performance, indicating to the examiner which aspects of
their performance they were happy or unhappy with, and why.
GRADE 7
In addition to the requirements for Grades 1–6, candidates may be asked to:
• demonstrate knowledge of II-V-I patterns (G, C and F majors only) and the circle of fifths;
• give basic biographical information about the composers and/or famous performers of the music performed;
• demonstrate awareness of the historical and stylistic context of the music;
• demonstrate a widening musical awareness a little beyond the music performed.
GRADE 8
In addition to the requirements for Grades 1–7, candidates may be asked to:
• demonstrate knowledge of tritone substitutions, sus chords and turnarounds;
• identify other pieces by the same composers;
• identify any interval by number and type;
• discuss with the examiner a range of issues arising from the music performed, demonstrating evidence of a
rounded musical awareness, in terms of both the repertoire itself, and the candidate’s response to it as a
performer.
25
Creative Response Test
This section of the examination will test the candidate’s ability to develop improvised phrasing at sight.
Approximately one minute will be allowed to study the test, during which time the candidate may try the
test if they wish.
Examples are provided in Jazz Wind Handbook 1 (LL161) and Jazz Wind Handbook 2 (LL162).
GRADE 1
• The piece will consist of four bars in C major.
• Bars 1 and 2 will be written out.
• The candidate is required to play the opening phrase and a response phrase.
GRADE 2
• The piece will consist of four bars in G major.
• Bars 1 and 2 will be written out.
• The candidate is required to play the opening phrase and a response phrase.
GRADE 3
• The piece will consist of eight bars in F major, in a ‘swing’ style.
• Bars 1, 2, 5 and 6 will be given.
• Development will be required in bars 3, 4, 7 and 8.
GRADE 4
• The piece will consist of eight bars in D major or B minor, in a ‘swing’ or ‘straight’ style.
• The first four bars will be given.
GRADE 5
• The piece will consist of eight bars in B¨ major or G minor, in a ‘swing’ or ‘straight’ style.
• The first four bars will be given.
GRADE 6
• The piece will consist of eight bars, up to 3 sharps or 3 flats, in a ‘swing’ or ‘straight’ style.
• Two bars will be given, plus chord indications.
• Blues scales, pentatonic scales and modes related to the Technical Work could be applied in the piece.
GRADE 7
• The piece will consist of eight bars, up to 4 sharps or 4 flats, in a ‘swing’ or ‘straight’ style.
• Two bars will be given, plus chord indications.
• Blues scales, pentatonic scales and modes related to the Technical Work could be applied in the piece.
GRADE 8
• The piece will consist of up to 12 bars, up to 5 sharps or 5 flats, in a ‘swing’ or ‘straight’ style.
• The first 2 bars will be given, and chord indications will be provided over the remainder of the piece.
26
Aural Tests
Jazz aural tests are only acceptable in jazz exams. Specimen tests are available as a separate download
from www.lcmebooks.org or are supplied free with a copy of the Jazz Wind Handbook 1 (LL161)/Jazz Wind
Handbook 2 (LL162). (Reference to these handbooks is an essential requirement to conduct and respond
to these tests.)
Requirements:
GRADE 1
Rhythm
Candidates should refer to Rhythm & Improvisation Exercise No. 1: Four in a Bar on page 15 of Jazz Wind
Handbook 1. The examiner will count in and play a short piece, with emphasis on beats 1 & 3 (‘down beat’)
or beats 2 & 4 (‘back beat’). Candidates will be asked to:
1 identify the piece as ‘down beat’ or ‘back beat’ (2 marks).
Pitch
The examiner will play a note (C, F or G), followed by the note a major 3rd or a perfect 5th above. The
candidate will be asked to:
2 (a) identify the note by name or by interval number (2 marks).
The examiner will play the note C, or another suitable note. The candidate will be asked to:
2 (b) sing a major 3rd or perfect 5th above, as requested by the examiner (2 marks).
Two notes of different pitches will be played, one after the other. Candidates will be asked to:
2 (c) identify as ‘first’ or ‘second’ which of the two notes is EITHER the higher OR the lower, at the examiner's
discretion (1 mark).
The two notes will be played again. Candidates will be asked to:
2 (d) sing back one of the two notes (EITHER the first OR the second, at the examiner’s discretion) (1 mark).
GRADE 2
Rhythm
Candidates should refer to Rhythm & Improvisation Exercise No. 2: Swing on pages 24–25 of Jazz Wind
Handbook 1. The examiner will play, on one note, either Example A, Example B or Example C (page 25), twice.
Candidates will be asked to:
1 (a) identify which example was played (2 marks).
1 (b) clap the first two bars of the example, followed by a two-bar improvised response in a swing style
(2 marks).
Pitch
A major or minor triad will be played, followed by one note taken from the triad. Candidates will be asked to:
2 (a) identify the note as ‘bottom, middle or top’ OR ‘Doh, Mi or Soh’ OR ‘root, 3rd or 5th’ (candidate's choice)
(1 mark).
The triad will be played again. Candidates will be asked to:
2 (b) state if the triad is major or minor (1 mark).
27
The key-chord of a major key (C, F, G, and D majors only) will be played, and the key stated, followed by the
first five notes of the scale in ascending order. The examiner will then play any ONE of these notes again.
Candidates will be asked to:
2 (c) identify the note, EITHER by letter name OR by tonic sol-fa name OR by number (1, 2, 3, 4 or 5) as elected by
the candidate (1 mark).
The test will be repeated, using a different example (1 mark).
GRADE 3
Rhythm
Candidates should refer to Rhythm & Improvisation Exercise No. 3: Syncopation on pages 38–39 of Jazz Wind
Handbook 1. The examiner will play, on one note, either example (a), example (b) or the example indicated
as ‘a slightly more complicated rhythm’. Candidates will be asked to:
1 (a) identify which example was played (2 marks).
1 (b) clap one of the other two patterns, as selected by the examiner (2 marks).
The examiner will play, on one note, one of the examples listed above. Candidates will be asked to:
1 (c) sing or play an improvised phrase following the rhythmic pattern of the example (2 marks).
Pitch
An interval will be played twice, once with the pitches sounded successively, and once with the pitches
sounded together. The intervals will be restricted to the following: Major 2nd, Major 3rd, Perfect 4th, Perfect
5th. Candidates will be asked to:
2 identify the interval, by numerical value only (2nd, 3rd, 4th, 5th) (1 mark).
GRADE 4
Rhythm
Candidates should refer to Rhythm & Improvisation Exercise No. 4: Rock on page 51 of Jazz Wind Handbook
1. The examiner will play, on one note, one of Examples 1, 2, 3 and 4. Candidates will be asked to:
1 (a) identify which example was played (2 marks).
1 (b) clap one of the four exercises, as selected by the examiner (2 marks).
1 (c) sing or play an improvised phrase using the rhythmic pattern of one of the four exercises, as selected by the
examiner (2 marks).
Pitch
An interval will be played twice, once with the pitches sounded successively, and once with the pitches
sounded together. The interval will be restricted to any major, minor or perfect interval up to and including an
octave. Candidates will be asked to:
2 identify the interval, by numerical value and type (1 mark).
GRADE 5
Rhythm
Candidates should refer to Rhythm & Improvisation Exercise No. 5: Latin on pages 63–64 of Jazz Wind
Handbook 1. Candidates will be asked to:
28
1 (a) tap (one hand upper pattern, one hand lower pattern) either the Samba, Bossa Nova or Beguine example, as
selected by the examiner; this may be read from the book (2 marks).
The examiner will count in and clap the upper pattern of two bars (twice), taken from either the Samba,
Bossa Nova, Beguine, Mambo or Rumba (or Bolero) examples. Candidates will be asked to:
1 (b) identify the note and rest time values. Terminology such as half note, quarter note, etc. is acceptable.
Candidates may not look at the music for this test. Only the first two bars are used for this test (2 marks).
Pitch
An interval will be played twice, with the pitches sounded together. The interval may be any major, minor or
perfect interval within the octave, as well as the augmented 4th/diminished 5th. Candidates will be asked to:
2 (a) identify the interval, by type and numerical value (1 mark).
The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in
length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal, or interrupted) in the
home key. Candidates will be asked to:
2 (b) identify the cadence, either by its conventional name, or as ‘finished’ (perfect and plagal) or ‘unfinished’
(imperfect or interrupted) (1 mark).
GRADE 6
Candidates should refer to the section Modes on pages 4–5 of Jazz Wind Handbook 2. The examiner will play
the note C, followed by one of the following modes, played twice: Ionian, Dorian, Mixolydian or Aeolian.
Candidates will be asked to:
1 identify which mode was played (3 marks).
Candidates should refer to the section The Blues on pages 6–7 of Jazz Wind Handbook 2. The examiner will
play the root note followed by any other note of the blues scale of the following construction (based on C):
C–E¨–F–F©/G¨–G–B¨–C. Any root note may be used. The notes will be sounded successively and then together.
Candidates will be asked to:
2 (a) identify the interval between the two notes (3 marks).
The key-chord of a major key will be sounded. A short melody in the same key, of approximately 2 bars in
length, will be played, finishing with a harmonised cadence (perfect, imperfect or interrupted) in the home
key. Candidates will be asked to:
2 (b) identify the cadence by its conventional name (1 mark).
GRADE 7
Candidates should refer to the section II-V-I Sequences on pages 20–21 of Jazz Wind Handbook 2. The
examiner will play a major chord on any note, naming the tonic. The examiner will then play either the minor
II7 chord or the V7 chord. Candidates will be asked to:
1 identify whether it is the minor II7 chord or the V7 chord, and name the notes in the chord (3 marks).
The examiner will play either a dominant 7th chord, a major 7th chord or a minor 7th chord. Candidates will
be asked to:
2 identify the chord type (2 marks).
The examiner will name the root note. Candidates will be asked to:
3 identify the other notes in the chord (1 mark).
29
The key-chord of a major or minor key will be sounded. A short harmonised passage in the same key, of
approximately 2 bars in length, will be played, finishing with a harmonised cadence (perfect, imperfect, plagal
or interrupted) in the home key. Candidates will be asked to:
4 identify the cadence by its conventional name (1 mark).
GRADE 8
Candidates should refer to the sections Tritone Substitutions and Sus Chords on page 43 of Jazz Wind
Handbook 2. The examiner will play a tonic chord, followed by a tritone substitution or a sus chord.
Candidates will be asked to:
1 identify whether it is a tritone substitution or a sus chord (2 marks).
The examiner will play a major tonic chord, followed by one of the following modes: Aeolian, Dorian or
Mixolydian. The mode will start on an appropriate note above the tonic chord. Candidates will be asked to:
2 (a) name which mode was played (1 mark).
2 (b) describe the interval spelling of the mode (e.g. Aeolian is T–ST–T–T–ST–T–T) (1 mark).
3 The examiner will play a piece of music in a contemporary or jazz style. The candidate will be given a copy of
the score, without phrasing, tempo, articulation or dynamic markings. Candidates will be asked a selection of
the following:
• to name the key;
• to identify modulations;
• to identify intervals, including compound intervals;
• to describe the overall form. These may include ABCA, ABCBA, AABA, ABAB and similar structures;
• to identify changes in style, phrasing, tempo, articulation and/or dynamics, in short passages, of up to 2
bars in length, played by the examiner (4 marks).
30